это когда пол ледни запанковал, вкупе с вышеперечисленными группами
Around the same time that TOTEN wound down, Paul was invited to join a GG Allin backup band.
In the late 1980s, punk rock singer GG Allin was infamous for transgressive stage performances including self-mutilation, defecation, and violence. Although Allin enjoyed limited mainstream success, he garnered a dedicated underground following with his prolific musical output.
LEDNEY: A friend of mine, Malcolm Tent, had a record store called Trash American Style; that’s where we bought all our punk, hardcore, and metal. Pretty much everyone from the tri-state area – Connecticut, New Jersey, and New York – would travel there to pick up vinyl. One day, Malcolm mentioned, ‘I’ve been talking to GG Allin, and he wants to do a project. Are you interested?’ I was a huge fan, so I said, ‘Okay, cool.’
This was the birth of THE CONNECTICUT COCKSUCKERS. In its initial stages, the project set out to record an EP with GG Allin on vocals and then perform a few shows.
LEDNEY: We were influenced by POISON IDEA and similar stuff. At the time, GG had no other backup band like us – fast and powerful but who also played well. Live, we were mostly gonna do SCUMFUCS-era shit. Our own material was in that style but sped up a bit.
Active during the early to mid-1980s, THE SCUMFUCS were one of GG Allin’s most infamous backing bands. Known for aggressive, chaotic punk rock, they helped define the confrontational nature of Allin’s performances.
LEDNEY: I got in touch with GG over the phone, and he seemed kind of uninterested in terms of setlists. ‘You pick it!’ he told me. I remember sending him a list of songs I thought we should play, and then he and I talked about how fucking heavy our set was gonna be.
What were your expectations for the actual stage performance?
LEDNEY: I enjoyed the danger side of GG Allin, but I was still a kid and didn’t want him attacking me. I told GG straight up, ‘I’m nervous that you’re gonna turn your shit against me’, but he said, ‘Nah, man. Tell me right before we go on to stay away from you at all costs – and I will. No matter how shitfaced or crazy I get, I won’t go near the drums. But regardless of what happens… just keep playing!’ I said, ‘Okay.’
How much effort did you put into the original material?
LEDNEY: Well, there was other stuff happening in our lives at the time, so we didn’t exactly spend all day working on it. Malcolm would call and say, ‘Hey, we gotta jam and finalise the GG songs this weekend’, and we were like, ‘Okay, cool.’ It was very low pressure because that shit is easy to play, but we did put some time into the writing.
Once the COCKSUCKERS had composed and recorded their tracks, Paul called GG Allin to let him know the material was ready for vocals. In conjunction with Allin’s visit, they were also meant to perform live in New York and Connecticut.
LEDNEY: I told him, ‘All the lyrics are set for you’, and he goes, ‘Great!’ GG absolutely loved my ideas and song titles… but when discussing our live shows, he said, ‘Hey, I wanna do some Hank Williams Senior-type stuff too!’ I went, ‘Are you fucking kidding me?’ You know, I was just a kid, but I started yelling at him over the phone. ‘Dude, we’ve already rehearsed the setlist; I’ve been giving you updates the whole time. We’re into the heavy shit!’
Further confusion arose when GG showed up at Trash American Style in Connecticut with a line-up of his own.
LEDNEY: That kinda pissed us off, because why the fuck would you bring a backup band to our show? It was just a case of miscommunication – but not on my or Malcolm’s side. We were absolutely clear about everything.
After an awkward start, Malcolm Tent brought GG Allin to New York, where they’d rented a youth centre to track the vocals.
LEDNEY: I couldn’t come to the vocal recording. Now, I forget exactly what happened, but I’d gotten into a fight and was kicked in the chest, leaving me with two broken ribs. Malcolm said that when GG started singing, he destroyed the microphone. They found him another mic, which he didn’t like. GG got a little belligerent, and an argument broke out. He kept saying, ‘I’ll do it next time. I promise.’ Malcolm insisted, ‘We need to do it now, while you’re here!’ but GG just went, ‘No, I’ll be back.’
GG Allin left the premises, along with any chances of either recording or playing shows.
LEDNEY: It could’ve made for a cool meeting between my brain and his. I guess it would’ve been more like pure GG Allin but organised by me. It had definitely been the heaviest, tightest GG shit ever – still noisy and raw, though. Fast drumbeats but not grinding. It was gonna be the real deal.
Would you say that GG Allin has been influential to your artistic expression?
LEDNEY: Oh, definitely. Go back and watch the old videos: there are brief moments, very short, where he’s completely lost in a song. Totally into the music, feeling it, and I dug that. All the gross stuff on the side… I didn’t really mind, yet I wasn’t especially drawn to it. It’s nothing but shock value for people videotaping the show. They’d come just to see him take a shit on stage – as if expecting it. I knew this annoyed GG, as it also annoyed me.
What do you think GG Allin would’ve thought about black metal?
LEDNEY: Well, GG used to be more… if a band was sincere and genuine, he’d be into them. I know he liked POISON IDEA – same with NAPALM DEATH and SIEGE from Boston. But let’s put it this way: if GG had been alive now and I showed him PROFANATICA, he’d dig it for sure.
https://www.bardomethodology.com/articles/2...lesh-interview/Так я с самого начала пишу, что там было всё, как у молодёжи.
Почему тогда, допустим, те же финны и шведы не жгли церкви, ну или те же американцы?
